Artistic culture is most often represented. The concept of "culture" and "artistic culture"

Plan.

Artistic culture and art.

Functions and types of art.

Directions, trends and styles of art.

Topic 4.1. Artistic culture and art.

Art culture- these are perfect art activities that meet the standards accepted in society and contribute to its functioning and development.

Artistic culture is the activities of a society, a group, an individual art, about it And in connection with him. The first activity is divided into the creation of art, which together with performing skills is often called artistic creativity, and the consumption of it. The second activity consists of creating, learning and disseminating information about art. The third consists primarily in the functional use of art, for example, in the artistic arrangement of everyday life and providing artistic influence on various areas of life. Consequently, artistic culture is not limited to the practice of art and is not limited to artistic activity. Art is just its core, central part. An important activity is the assimilation of various information about art, which enlightens people about it, makes them artistically erudite, and seriously helps them in perceiving art.

Usually people who only know about art are not considered artistically cultured. But can they be denied this? Moreover, there really are a lot of them. I think not. But as for the completeness of their artistic culture, it certainly turns out to be limited. This arises from the difference between the activities of art, including its consumption, and the activities related to art, which consist in obtaining information about art and exchanging it with other people. The first is carried out in order to experience a special experience - aesthetic pleasure, and the second - for the sake of replenishing knowledge about art and better understanding it.

Peculiarity artistic culture, its difference from other cultures is determined by the specifics of art. The latter is a great simulacrum - an imitation of reality. However, unlike other simulacra, art appears not as an imitation of false models, ersatz, but as a result of such a doubling of reality, which carries about it artistic truth. Therefore, the standards of artistic activity are special; they require people to stay not in a really existing world, but in an artistically depicted world, in which simulative creative thinking and corresponding actions are necessary.

Artistic culture is not only professional, but also amateur artistic activity of people, which they indulge in in their free time. Therefore, the subjects of artistic culture are not only those who professionally engage in art, but also all people who amateurishly produce and consume it.

Artistic culture individuals is not their own, but is the result of their introduction to some of the artistic cultures existing in society. This is expressed in the presence of social, group artistic views in a person. A person’s choice of artistic culture is rarely associated with his social affiliation; it is determined more by the characteristics of his artistic taste. His acceptance of artistic culture leaves room for its individual development. Great importance an individual vision of art, often with a claim to their own artistic culture, has to create and perform artistic works. To a certain extent, this applies to all art consumption.

It is important to emphasize that in all its manifestations, artistic culture appears as an activity carried out according to the standards existing in society and groups. This primarily applies to artistic creativity. The criterion for cultural consumption of art is people’s comprehension of artistic criticism and the degree of familiarization with it.

Since artistic culture includes V itself in pursuit of art and in connection with it, its standards are also those that prescribe their exemplary implementation.

Art is one of the most important spheres of culture, and unlike other spheres of activity (occupation, profession, position, etc.) it is universally significant, without it it is impossible to imagine people’s lives. Rudiments artistic activity noted in primitive society long before the advent of science and philosophy. And, despite the antiquity of art, its irreplaceable role in human life, the long history of aesthetics, the problem of the essence and specificity of art still remains largely unresolved. What is the secret of art and why is it difficult to give strictly scientific definition his? The point, first of all, is that art does not lend itself to logical formalization; attempts to identify its abstract essence always ended in either approximation or failure.

We can distinguish three different meanings of this word, closely related to each other, but differing in scope and content. In its broadest sense, the concept of “art” (and this is, apparently, its most ancient application) means any skill, skillfully, technically performed activity, the result of which is artificial in comparison with the natural. It is this meaning that follows from the ancient Greek word “techne” - art, skill.

The second, narrower meaning of the word “art” is creativity according to the laws of beauty. Such creativity refers to a wide range of activities: the creation of useful things, machines, this should also include the design and organization of social and personal life, the culture of everyday behavior, communication between people, etc. Nowadays, creativity operates successfully according to the laws of beauty in various areas of design. A special type of social activity is artistic creativity itself, the products of which are special spiritual aesthetic values - this is the third and most narrow meaning the word "art". This will be the subject of further consideration.

Art– a form of culture associated with the subject’s ability to aesthetically, practically and spiritually master the world; special aspect of social consciousness and human activity, which is a reflection of reality in artistic images; one of the most important ways of aesthetic understanding of objective reality, its reproduction in a figurative and symbolic key, relying on the resources of creative imagination; a specific means of a person’s holistic self-affirmation of his essence, a way of forming the “human” in a person.

Characteristic features of art:

serves as a powerful means of communication between people;

associated with experiences and emotions; presupposes predominantly sensory perception and certainly subjective perception and vision of reality;

it is characterized by imagery and creativity.

Modern science has established that art originated in the Upper Paleolithic era, i.e. about 30-40 thousand years BC The polyphony of art also implies a variety of points of view on the reasons for its origin.

Religious theory. In accordance with it, beauty is one of the names of God, and art is a concrete sensory expression of the divine idea. The origin of art is associated with the manifestation of the divine principle.

Game theory (G. Spencer, K. Bucher, W. Fritsche, F. Schiller). The point is that art is considered a game in itself, devoid of any content. Due to the fact that play is a biological phenomenon inherent in all animals, art is declared one of the natural phenomena. Since the game older than labor, then art is older than the production of useful objects. Its main goal is pleasure, enjoyment.

Erotic (N. Nardau, K. Lange, 3. Freud, etc.). Proponents of this point of view believed that art arises as a means of attracting representatives of one sex to individuals of the other sex. For example, one of the most ancient forms of art - decoration - was created in order to produce the greatest sexual desire.

Theory of imitation (Democritus, Aristotle, etc.). Here an attempt is expressed to connect the reason for the emergence of art with the social purpose of man. Aristotle saw in art an “imitation” of mother nature and one of the means of “purifying” a person’s feelings, raising him to be beautiful, noble, and courageous (“Poetics”). He believed that the reasons for the emergence of art were the natural inclinations of man to imitate and imitate nature.

Functions and types of art

Social functions of art.

Cognitive (epistemological) function. Reflecting reality, art is one of the ways to understand the spiritual world of people, the psychology of classes, nations, individuals and social relations. The specificity of this function of art is in its appeal to the inner world of a person, the desire to penetrate into the sphere of the innermost spirituality and moral motives of the individual.

The axiological function of art is to assess its impact on the individual in the context of defining ideals (or negating certain paradigms), i.e. generalized ideas about the perfection of spiritual development, about that normative model, the orientation towards and the desire for which is set by the artist as a representative of society.

Communication function. Summarizing and concentrating the diverse life experiences of people of different eras, countries and generations, expressing their feelings, taste, ideal, views on the world, their attitude and worldview, art is one of the universal means of communication, communication between people, enriching the spiritual world of an individual experience of all mankind. Classic works unite cultures and eras, expanding the horizons of the human worldview. “Art, all art,” wrote L.N. Tolstoy, - in itself has the ability to unite people. What all art does is that people who perceive the feeling conveyed by the artist are united in soul, firstly, with the artist and, secondly, with all the people who received the same impression.”

The hedonistic function lies in the fact that true art brings people pleasure (and rejection of evil) and spiritualizes them.

Aesthetic function. By its nature, art is the highest form of exploration of the world “according to the laws of beauty.” It, in fact, arose as a reflection of reality in its aesthetic originality, expressing aesthetic consciousness and impact on people, forming an aesthetic worldview, and through it the entire spiritual world of the individual.

Heuristic function. Creating a work of art is an experience of creativity - concentration creative forces a person, his fantasy and imagination, the culture of feelings and the height of ideals, the depth of thoughts and skill. Development artistic values- also a creative activity. Art itself carries within itself the amazing ability to awaken thoughts and feelings inherent in a work of art, and the very ability to be creative in its universal manifestation. The influence of art does not disappear with the cessation of direct contact with a work of art: productive emotional and mental energy is protected, as it were, “in reserve”, and is included in the stable basis of the personality.

Educational function. Art expresses the entire system of human relations to the world - norms and ideals of freedom, truth, goodness, justice and beauty. The viewer’s holistic, active perception of a work of art is co-creation; it acts as a way of the intellectual and emotional spheres of consciousness in their harmonious interaction. This is the purpose of the educational and praxeological (activity) role of art.

Patterns of functioning of art:

the development of art is not progressive; it comes in spurts;

works of art always express the artist’s subjective vision of the world and have a subjective assessment on the part of the reader, viewer, listener;

artistic masterpieces are timeless and relatively independent of changing group and national tastes;

art is democratic (it influences people regardless of their education and intelligence, and does not recognize any social barriers);

true art, as a rule, is humanistically oriented; interaction of tradition and innovation.

Thus, art is specific type spiritual activity of people, which is characterized by a creative, sensory perception of the surrounding world in artistic and figurative forms.

Art, as the most important part of culture, finds its expression in the limitless variety of specific types of artistic creativity, the number and complexity of which - from rock painting or primitive dance to the grandiose "show" or film series of our time - is steadily increasing as the aesthetic consciousness of mankind grows.

Principles of classification of art forms.

First of all, among the types of art there are:

fine arts (painting, graphics, sculpture, art photography) and

non-figurative (music, architecture, decorative applied arts, choreography).

The difference between them is that the fine arts reproduce life in a form similar to it (depict it), while the non-fine arts directly convey the inner state of people’s spirit, their experiences, feelings, moods through a form that is “dissimilar” directly to the object of display.

Fine arts turn to reality as the source of formation of the human world, non-fine arts - to the results of the influence of reality on the spiritual world of the individual (people's worldview, their feelings, experiences, etc.).

It is very important to divide the arts into:

static (spatial) and

dynamic (temporary).

The first include painting, graphics, sculpture, architecture, decorative and applied arts, artistic photography; the second - literature, music, dance. Spatial arts with enormous power reproduce the visible beauty of reality, the harmony of space, and are able to draw attention to individual aspects of the reflected world, to every detail of the work itself, which makes them indispensable in aesthetic education and teaching beauty. At the same time, they are powerless to directly convey the changes in life, its course. This is successfully done by temporary arts, capable of recreating both the course of events (literature) and the development of human feelings (music, choreography).

Not all types of art can be “classified” as one or another clearly defined type. On the basis of the synthesis of simple arts, synthetic arts grow. These include theater, cinema, and television. They, as a rule, combine the features of fine and non-visual arts, spatial and temporal, so that they are sometimes even classified as a special group of spatio-temporal arts.

According to the method of practical artistic development of material, art can be divided into types that use natural materials - marble, granite, wood, metal, paint, etc. (architecture, painting, graphics, sculpture, decorative and applied arts), sound (music), the word (primarily fiction), as well as the arts in which the “material” is the person himself (theater, cinema, television, stage, circus). A special place here is occupied by the word, the use of which is widely used by the most different kinds art.

Let us also note the division of arts into utilitarian (applied) and non-utilitarian (fine; sometimes they are also called pure). In works of utilitarian arts (architecture, decorative and applied arts), in recent decades there has been an increasingly widespread utilitarian use of some types of fine arts (music in industry and in medicine, painting in medicine), their intended purpose for practical material purposes and their own aesthetic purpose are organically intertwined focus.

Traditional aesthetics divides works of art, primarily based on their relationship to the categories of space and time, into two large groups: spatial and temporal. In accordance with this criterion, the first group includes such types of artistic creativity in which no movement is detected: architecture, sculpture, painting, graphics, etc. The second includes music, ballet, theater, and other types of “entertainment” art. However, it is easy to notice that not all types of art are subject to such a “rigid” classification, many of which, if not all, could be called spatiotemporal.

The classification itself distinguishes types of art - fine, musical, “synthetic”, “technical”, arts and crafts, etc.

Fine art affects a person visually, i.e. through visual perception. Works of fine art, as a rule, have an objective (material) form and do not change in time and space (except in cases of damage and death). Painting, sculpture, graphics, monumental art, as well as, to a large extent, decorative and applied art belong to spatial art.

Synthetic arts are types of artistic creativity that represent an organic fusion or a relatively free combination of different types of arts, forming a qualitatively new and unified aesthetic whole.

The “technical arts” in developed forms arose relatively recently; This is a kind of symbiosis of art and technology. Typical example– the creation of “light music”, the essence of which is the desire to merge into some organic synthesis the “melody” of changing light and color effects, on the one hand, and the melody itself, on the other.

Decorative and applied art is perhaps one of the most ancient. Its name comes from Lat. “desogo” - I decorate, and the definition of “applied” contains the idea that it serves the practical needs of a person, while simultaneously satisfying his individual aesthetic needs.

A special area of decorative and applied art is all its manifestations that use nature itself as a source material, as if “connected” to the process of aestheticization of the human environment. “It is necessary to take under protection not only architectural monuments, but also entire landscapes, as is done, for example, in Scotland, where the entire “view” to the horizon is preserved,” wrote D.S. Likhachev. “Outstanding landscapes should be taken into account and preserved as cultural monuments (human and natural).”

Kinds of art- these are historically established, stable forms of creative activity that have the ability to artistically realize the content of life and differ in the methods of its material embodiment. Art exists and develops as a system of interconnected types, the diversity of which is due to the versatility of the real world itself, reflected in the process of artistic creation.

Each type of art has its own specific arsenal of visual and expressive means and techniques.

Qualitative characteristics of art forms.

Architecture– the formation of reality according to the laws of beauty when creating buildings and structures designed to serve human needs for housing and public spaces. Architecture is a type of art whose purpose is to create structures and buildings necessary for the life and activities of people. It performs not only an aesthetic function in people’s lives, but also a practical one. Architecture as an art form is static and spatial. The artistic image here is created in a non-representational way. It displays certain ideas, moods and desires using the relationship of scales, masses, shapes, colors, connections with the surrounding landscape, that is, using specifically expressive means.

Applied arts- these are things that surround and serve us, create our life and comfort, things made not only as useful, but also as beautiful, having a style and artistic image that expresses their purpose and carries general information about the type of life, about the era, about worldview of the people. The aesthetic impact of applied art is daily, hourly, every minute. Works of applied art can rise to the heights of art.

decorative arts– aesthetic development of the environment surrounding a person, artistic design of the “second nature” created by man: buildings, structures, premises, squares, streets, roads. This art invades everyday life, creating beauty and convenience in and around residential and public spaces. Works of decorative art can be a door handle and fence, stained glass window glass and a lamp, which enter into synthesis with architecture.

Painting– depiction on a plane of pictures of the real world, transformed by the artist’s creative imagination; highlighting the elementary and most popular aesthetic sense - the sense of color in special area and turning it into one of the means of artistic exploration of the world.

Graphic arts is based on a monochromatic drawing and uses a contour line as the main means of representation: a dot, a stroke, a spot. Depending on its purpose, it is divided into easel and applied printing: engraving, lithography, etching, caricature, etc.

Sculpture- spatial-visual art, mastering the world in plastic images that are imprinted in materials capable of conveying the vital appearance of phenomena. The sculpture reproduces reality in three-dimensional forms. The main materials are: stone, bronze, marble, wood. According to its content, it is divided into monumental, easel, and small-form sculpture. According to the shape of the image, they are distinguished: three-dimensional three-dimensional sculpture, relief-convex images on a plane. The relief, in turn, is divided into bas-relief, high relief, and counter-relief. Basically, all genres of sculpture developed during the period of antiquity. In our time, the number of materials suitable for sculpture has expanded: works of steel, concrete, and plastic have emerged.

Literature- a written form of word art. With the help of words she creates a real living being. Literary works are divided into three types: epic, lyric, drama. Epic literature includes the genres of novel, story, short story, and essay. Lyrical works include poetic genres: elegy, sonnet, ode, madrigal, poem. Drama is meant to be performed on stage. Dramatic genres include: drama, tragedy, comedy, farce, tragicomedy, etc. In these works, the plot is revealed through dialogues and monologues. The main expressive and figurative means of literature is the word. The word is an expressive means and mental form of literature, the symbolic basis of its imagery. Imagery is embedded in the very basis of language, which is created by the people, absorbs all their experience and becomes a form of thinking.

Theater- an art form that artistically explores the world through dramatic action performed by actors in front of the audience. Theater is a special type of collective creativity that unites the efforts of a playwright, director, artist, composer, and actors. The idea of the performance is embodied through the actor. The actor includes in the action and gives theatricality to everything that is on stage. The scenery creates on stage the interior of a room, a landscape, a view of a city street, but all this will remain a dead prop if the actor does not spiritualize things with stage behavior.

Music– an art that consolidates and develops the capabilities of non-verbal audio communication associated with human speech. Music develops its own language based on generalization and processing of intonations of human speech. The basis of music is intonation. The structure of music is rhythm and harmony, which when combined give a melody. Volume, timbre, tempo, rhythm and other elements also play a significant, meaning-forming role in music.

Choreography– the art of dance, the echo of music.

Dance– a melodic and rhythmic sound that has become a melodic and rhythmic movement human body, revealing the characters of people, their feelings and thoughts about the world. Emotional condition a person is expressed not only in his voice, but also in his gestures and the nature of his movements. Even a person’s gait can be swift, joyful, or sad.

Circus– the art of acrobatics, balancing act, gymnastics, pantomime, juggling, magic tricks, clowning, musical eccentricity, horse riding, animal training. The circus is not a record holder, but an image of a person demonstrating his highest capabilities, solving super-tasks, creating in accordance with the super-task, according to the laws of eccentricity.

Photographic art– creation by chemical, technical and optical means of a visual image of documentary significance, artistically expressive and authentically capturing in a frozen image an essential moment of reality. Documentation is the “golden guarantee” of a photo that forever captures a fact of life.

Movie- the art of visual moving images created on the basis of the achievements of modern chemistry and optics, an art that has acquired its own language, widely embracing life in all its aesthetic richness and synthetically absorbing the experience of other types of art.

A television– a means of mass video information capable of transmitting aesthetically processed impressions of existence over a distance; the new kind art, providing intimacy, homely perception, the effect of the viewer’s presence (the “immediate” effect), chronicle and documentary nature of artistic information.

Art forms are closely related to each other and mutually influence each other. Even such seemingly distant forms of art as cinema and architecture, music and painting are interconnected. Art forms have a direct influence on each other. Even in ancient times, architecture interacted with monumental sculpture, painting, mosaics, and icons.

By interacting with each other, various types of art solve a common problem - the task of aesthetic education of people, the formation and development of their spiritual world.

One of essential components The spiritual culture of humanity is artistic culture, which, together with cognitive, religious, moral, economic, political culture, is called upon to form inner world human, to promote the development of man as a creator cultural values. Artistic culture also represents a certain type of human activity, specific method realization of human creative potential. Artistic culture can be understood both essentially and functionally in the context of the entire spiritual culture.
Artistic culture is the culture of art production, the culture of its dissemination, propaganda, the culture of its perception, understanding, the culture of enjoying art.
The existence and social functioning of artistic culture is characterized by processes inherent in all types of social production, namely:
- production of artistic values;
- functioning of artistic values.
These processes concern both art institutions and art itself.
No social phenomenon can be understood within the framework of only one specific group of phenomena. The concept of artistic culture expresses a fundamentally new attitude towards art, focusing on its social functioning and connection with the system of organizations that manage the artistic process, distribute and store its products, and train artistic personnel. That is why the concept of “artistic culture” must work within the framework of an understanding of the entire social context in which art functions. A work of art is a product not only of artistic activity, but also of the entire process of the social functioning of art in society. When considering any work of art, one should take into account the forms of its inclusion in society and cultural life.
The sphere of artistic culture is the sphere of artistic values, representing the highest man-made forms of aesthetic values. Aesthetic values are always involved in culture in one way or another, although they can retain their natural autonomy (beauty in nature). In this case, the involvement of aesthetic values in culture is explained by the fact that social practice, the activities of people put this a natural phenomenon into a certain value attitude towards humanity.
In the system of artistic culture there are three subsystems, namely:
artistic production and its subjects (i.e. professional and amateur artists). Artistic production is the creative production of artistic values. For the effective functioning of subjects of artistic production important role organizational forms of artistic activity play (creative unions and amateur groups. This also includes the system art education(art universities and others educational establishments, which train professional personnel for the arts), as well as various kinds of encouragement and incentives for professional and amateur art creators (shows, competitions, prizes, honorary titles, etc.).
Artistic production is both a productive and actively moving principle of artistic culture, the state of which is primarily determined by the level of development of art. At the same time, the potential of artistic culture depends both on people’s attitude towards art and on the nature of their value systems in relation to works of art. An important role is also played by the factor associated with “temporary opportunities” artistic life, since the influence of art on people occurs in a certain time period."
artistic consumption and its subjects (viewers, readers, listeners). The sphere of artistic consumption is a huge world of artistic needs, tastes, values, ideals, complex world individual personal perception of artistic values, determined by various determinants ( social status, education, age, material opportunities to satisfy artistic needs, etc.);
reproduction, duplication and distribution of already made artistic values. In other words, this is the industry of reproducing works of art. These are artistic institutions and means of popularizing artistic values, this is the promotion of artistic culture, aesthetic education etc. In essence, this subsystem performs “intermediary” functions between artistic production and artistic consumption, between subjects of artistic production and subjects of artistic consumption.

The most important component of the existence and functioning of artistic culture in society is the process of creativity.
American philosopher E. Fromm calls the need for creativity one of the most important human needs. Animals tend to adapt passively to the world, but people try to transform it. The creative act is always a process of liberation and overcoming. There is an experience of power in it. This is why creativity is integral to freedom. Only the free can create, the philosopher notes.
A personality cannot rise above the everyday prose of life without an internal readiness for the sublime, for a romantic impulse. According to Fromm, this requirement is dictated by the presence of creative forces in each individual, among which imagination and emotionality occupy a special place. In the act of creativity, the individual unites himself with the world, breaks the framework of the passivity of his existence, enters the kingdom of freedom, only in which he can feel truly human.
However, the deepest essence of the creative act unfolds in art, in artistic creativity. Art in general is predominantly a creative sphere. Any creative artistic act is a partial transformation of life. In creative artistically another world is opening up to the world. However, the process and result of creativity carry a certain element of tragedy, expressed in the discrepancy between the plan and its implementation. The enormous creative energy of great artists can never be fully realized in their works.
Works of art, as a rule, are considered as the result of a specifically spiritual perception of reality by the artist and, based on this, his self-expression. At the same time, works of art are means of spiritual communication between people. Artistic culture, as part of spiritual culture, is a means of preparing and attracting potential viewers, listeners, and readers to art, which leads (immediately or indirectly) to a change in their inner world. That is why the process of reproducing artistic values is a process that allows us to attract more and more people to communicate through works of art, allows us to support and reproduce masterpieces of world art.
New phenomena of artistic culture are born in the context of this historical era, national culture, social structure of society, etc. Both by his birth and artistic content they represent a complex fusion of the temporary and the enduring, the national and the universal. Truly new artistic phenomena in in a certain sense They are ahead of their era, since they are called upon to “serve” not only the present, but also the future. They outgrow the level of artistic needs of their time and quite often turn out to be incomprehensible to this era. Therefore, one of the directions and manifestations artistic development is the gradual overcoming of contradictions between a work of art and its perception, understanding, and evaluation.
The artistic culture of each era includes phenomena whose social and cultural meaning is different, and sometimes even opposite. Some artistic phenomena are cultural relics, residual elements of artistic systems, structures, styles that disappear. At the same time, artistic culture also reveals deep-seated tendencies of social and artistic progress that do not yet have a direct connection with the current tasks of the time.

The concept of “culture” has developed historically (from Latin word cultura - cultivation of land, processing, development, veneration). Already in the works of the Roman public figure, the orator Cicero (106 - 43 BC) there is an interpretation of this concept as “processing, improvement of the soul.” Over time, the term begins to be used in the meaning of “upbringing”, “education”, “self-improvement”.

To date, there are more than 500 definitions of culture. Scientists divided them into several groups. The first included descriptive definitions. Secondly, there are definitions that connect culture with the traditions or social heritage of a society. The third group emphasized the importance and role of man for culture and the rules of culture that organize human behavior.

In everyday life, the concept of “culture” is also used in several meanings.

Culture is the totality of life forms created by man in the course of his activity and life forms specific to him, as well as the very process of their creation and reproduction.

The concept of culture characterizes the human world. Culture does not exist outside of man; it is initially connected with him. A person is a subject of culture: he creates, preserves and distributes the cultural values he creates.

Culture is divided into material and spiritual.

Spiritual culture is represented by phenomena associated with consciousness, with the intellectual, emotional and psychological activity of a person - language, customs and mores, beliefs, knowledge, art, etc.

Material culture is the embodiment of materialized human and social needs. Material culture includes all material objects and technologies created by human communities, the totality of material goods created by people.

Culture performs important functions in the life of society. These are humanistic, cognitive, regulatory, semiotic, value functions, as well as the function of transmitting social experience.

Culture “absorbs” information, objects, morals, customs of all times and peoples, therefore it allows one to remain continuous communication between generations. Thanks to books, paintings, musical works, we know about the life of our ancestors, we can - based on available information - reconstruct other eras, even those that were hundreds of thousands of years before our appearance! Culture is also human knowledge. Through culture we understand the world: we learn to recognize phenomena and events, identify characteristics, explore similarities and differences. Culture helps us become an educated, intellectual person who does not interrupt his self-improvement.

The regulatory function of science is the function of developing and rooting morality and law in society. Morality and law are the most important concepts of civilized human life. Morality and law make life in human society stable, do not allow minor conflicts to “escalate” into wars, and regulate relations between people. Morality is moral laws, the spiritual support of every person. Morality does not allow killing people, offending them, oppressing them, committing inhumane acts, etc. Law is the legal consolidation of morality: people are punished for crimes - depending on the severity of the crime about them. Law is not only a prohibition, but also freedom at the same time: law not only prohibits, but also protects. Morality and law are closely related to culture, since they went through a long stage of formation before they acquired their modern form.

The semiotic (sign) function of culture is manifested in the creation of a specialized system of signs that allows a person to experience the world of music, painting, and theater. In order to understand art, it is not enough to see the picture or the plot of the work - you need to know the symbolism of the text or canvas, be able to read between the lines, “see” through the colors. After all, art thinks in images! You need to be able to “read” them.

The value function of culture is that culture reflects the qualitative state of society, its moral and intellectual content, and acts as a criterion for moral assessment.

Artistic culture is the totality of all types of artistic activity, including the product and process of this activity. Thanks to artistic culture, a person is able to figuratively reflect and model the world.

The concept of “artistic culture” is broader in scope than the concept of “art”.

Art is a sphere of spiritual and practical activity of people, aimed at artistic comprehension And exploration of the world; This is one of the ways to aesthetically explore the world.

Artistic creativity in general - literature, architecture, sculpture, painting, graphics - are divided into types of art. There are more than 400 types of art. The traditional classification of art distinguishes 3 large groups:

***spatial arts (plastic) are types of artistic creativity in which there is no movement (architecture, sculpture, painting, graphics);

***temporary (literature, music);

***synthetic.

Art covers all areas of artistic creativity.

website, when copying material in full or in part, a link to the source is required.

Culturology

ARTISTIC CULTURE AS A SYSTEM

| G. E. Gun

Annotation. The article provides an analytical overview of the ideas of domestic and foreign scientists about artistic culture as a system. Based on these ideas, the author comes to the conclusion that it is necessary to rely on research in the field of multifactorial prognostic models of culture.

Keywords: artistic culture, systematic approach.

Summary. The article gives an analytical overview of representations of artistic culture as a system in the works of Russian and foreign scholars. Based on these ideas, the author concludes that one has to build on the research in the field of multi-factor prediction models of culture.

Keywords: art culture, systemic approach.

The purpose of this article is to review the works of domestic and foreign scientists, from the perspective of their consideration of the artistic culture of cities in the context systematic approach. The place of artistic culture in culture as a whole is determined by significant differences between material, spiritual and artistic forms of activity. Their differences should not be understood in the sense that one is only material, the other is only spiritual, the third is immaterial and non-spiritual. There is no doubt that the products of spiritual activity must be materialized, otherwise they simply could not exist, as well as the fact that spiritual goals, plans, models are embodied in material activity. The essence of the matter, however, is that in these layers of culture the ratio of material and spiritual principles diametrically opposite: material culture material in its own way

The fundamental difference between artistic culture and aesthetic culture is that aesthetic culture expresses universality, ubiquity, manifestations of people’s aesthetic activity; artistic activity is a specific type of productive activity, therefore artistic culture turns out to be a relatively independent layer of culture, therefore, it can be defined as a total method and product of artistic activity. The concept “total” means that the artistic

BASIC SCIENCE FOR UNIVERSITIES

cultural culture covers all branches of artistic activity (verbal, musical, theatrical, etc.), includes all processes occurring “around” art (creation, storage, perception, etc.), and processes that ensure its success functioning (education of artists, public, critics, etc.).

The functions of artistic culture, like the functions of culture as a whole, are determined by the fact that it lives in space and time. In social space (that is, in the simultaneous life of the people of a country, region, of all humanity), artistic culture is designed to ensure maximum efficiency of both the processes of creativity, the creation of artistic values, and the processes of their perception by the public in accordance with their various spiritual needs.

If we consider the historical life of artistic culture, that is, its existence in time, we will see that its main 352 functions are to ensure the protection of artistic values, their transmission from generation to generation, since historical variability social life does not lead to destruction artistic heritage, but requires its actualization, its inclusion in the spiritual life of every new era. At the same time, artistic culture must provide constant update art in accordance with the changes occurring in public life, in other areas of culture, by the logic of art’s own development. Thus, artistic culture is called upon to transmit traditional

tions, creative experience, methods of artistic exploration of the world accumulated over centuries and ensure the constant movement of art, its renewal and improvement.

Such an ensemble of functions determines the structure of artistic culture: the first dimension is spiritual and meaningful: we are talking about something specific to each historical, ethnic and social type of artistic consciousness (about the picture of the world and the place of figurative representation of human existence in it); we discover the second dimension - zonal or morphological - when from general characteristics its spiritual content, we move on to characterizing its features in different types of art, for the integrity of the artistic culture of society covers the diversity of those forms in which creativity appears in the verbal arts, visual arts, music, theater, dance, cinema, architecture, etc. It must be borne in mind that all these types of art not only coexist one next to the other, but form a kind of historically self-organized system.

The idea of culture as a stable formation, generated and supported by the implementation of a set of functions necessary for the joint life of people, led to the formation of concepts of social and cultural systems. At the same time, supporters of the concept of a cultural system (L. White, K. Kluckhohn, A. Kroeber and others) considered society as structural component the common life of people, and culture - “as the content of this structure.” Also A. Radcliffe-Brown under-

1. L. von Bertalanffy a set of interacting elements, a structure in which the elements somehow act on each other (interact)

2. P. Atkins is a separate part, a fragment of the world, the Universe, which has a special quality (emergence), relative self-sufficiency (thermodynamic isolation)

3. V. A. Anokhin a complex of selectively involved elements that interact to achieve a given goal useful result, which is accepted as the main system-forming factor

4. M. A. Gaides is a group of elements in which the result of their general interaction differs from the results of the action of each of these elements separately

5. A. Hall a set of objects along with connections between objects and between their characteristics

emphasized the advantages of B. Malinovsky’s approach, which proposed “considering each culture as a functionally interconnected system” and tried to discover “ general laws functioning of human society as a whole." To get an idea of artistic culture as a system, let’s consider the very concept of a system in various studies (see table).

Later, the concept of goal appears in system definitions. So, in " Philosophical Dictionary“A system is defined as “a set of elements that are in relationships and connections with each other in a certain way and form some kind of integral unity.” IN Lately in the definition of the concept of a system, along with the elements, connections and their properties and goals, they begin to include the observer, although for the first time the need to take into account the interaction between the researcher and the system under study was pointed out by one of the founders of cybernetics, W. R. Ashby. M. Masarovich and J. Takahara in the book “ General theory systems" believe that the system is a "form

“little relationship between observed signs and properties.”

This explains the existence of stable sociocultural entities in comparison with previous functionalist constructions, where “cultural and social phenomena were considered as a self-sufficient reality, and a group of people was defined not through the differentiation of functions or roles, but through norms or institutions that integrate it.”

In this case, not only the number of elements of a cultural system is compared, but also the order of their connection, structure and rules of interaction. Such a system, subject to destructive influences, is able to regain its balance. However, the reasons for cultural similarities and differences are still the subject of scientific debate. Since the city is considered as a system, the “behavior” of this system, which has the ability to accumulate and transmit information, form management processes, and function as a self-organizing phenomenon, is the subject of serious scientific research.

It is this property (restoration of balance, self-organization) that is for T. Parsons the most important feature of a social system, since “the tendency of the interaction process towards self-preservation is the first law of social processes.” The main thing is important here: how a city (and a modern city in particular), being a cultural system, survives in the process of functioning in difficult circumstances of unwanted interventions, crisis eras, how forces are formed that eliminate the negative results of such interference, and to what extent the social system retains its ability to self-healing.

At one time, M. B. Glotov, defining the artistic culture of society as a system of social institutions, identified as the main structural blocks of its structure: artistic production, artistic communication, artistic cognition, artistic criticism and artistic consumption. If we follow the idea of some sociologists of art that the artistic life of a society “is nothing more than a historically determined way of reproduction and functioning of the artistic culture of society,” then the structure of the artistic life of a society should be isomorphic to the structure of its artistic culture. The main difference between the structures of artistic culture and the artistic life of society is that the elements of the first are social institutions, and the second - social processes.

S. N. Plotnikov in his research came up with the idea of contrasting

sociology of art sociology of artistic culture. According to his concept, there are, as it were, two relatively independent sociologies of art. The object of study of one of them is works of art that are studied by aesthetics and art criticism. The other object of study is artistic culture, understood as one of the types of spiritual culture of society and representing “a set of phenomena, processes and relationships associated with the artistic and creative activities of people, which are based on the ideals of beauty, as well as with storage activities, distribution and consumption (perception) of artistic products.” S. N. Plotnikov studied artistic culture at three levels: general sociological, when it is considered as an element of the social system; specifically sociological, where the social patterns of development and functioning of artistic culture, its external and internal connections, the interaction of artistic production and artistic consumption are studied; empirical-sociological, involving the analysis of data on the functioning individual species, forms, types and processes of artistic culture.

However, later in his work “Problems of the sociology of artistic culture” (1980), S. N. Plotnikov makes some changes and additions to his concept:

Firstly, he understands artistic culture as a system of three interacting subsystems: artistic production, artistic needs, the social institution of artistic culture;

Secondly, the subject of the sociology of artistic culture is clarified, from which the analysis of its historical development, and the emphasis is on the study of modern processes of the influence of society on artistic culture and its reverse influence on society.

V. M. Petrov’s approach to the system and subsystems of artistic culture is interesting. The main obstacle to the deployment of any artistic structure he sees in the awareness of the general, in the many different implementations of the same artistic structure or the identification of this structure by the recipient, which ceases to have the proper impact on the emotional side of his consciousness. If such a process should affect (sooner or later) any artistic system, then it should be considered long-term, constantly (on the scale of evolution) operating; its importance, I think, is beyond doubt. In other words, the fabric of a work of art should include a rational description of the processes of creating or perceiving art, which are predominantly emotional in nature.

So, the requirements for reflexive processes imposed by sphere (b) practically coincide with the requirements imposed by sphere (a). It is the coincidence of these two classes of requirements that determines the necessary constant presence of reflexive processes in the system of artistic culture. These reflexive processes can be realized through those two (A and B) paths that were outlined earlier. In relation to the system of artistic culture, these two paths are embodied as follows:

A. In the system of artistic culture, there is a special subsystem that serves to reflect the processes of creation or perception of works of art occurring in this system. This subsystem is embodied, first of all, in such social institutions as art criticism(reflecting directly creative processes - the creation of works of art), theory of art and aesthetics (which deal primarily with the analysis of the structure of these works), sociology and psychology of art (concentrating their main attention on the interpretation of the processes of perception of artistic structures).

B. Works periodically appear in art that reflect the processes of artistic creation or perception; examples of such phenomena were given above.

The last (B) way of implementing reflexive processes differs from the first (A) way by the immediacy of reflection, which is very significant from the point of view of the social effectiveness of these processes, because the greatest force of influence on both the creators of art and its audience (and through it - again on those creators) has a reflection directly woven into the very fabric of the work of art, constituting its integral part. That is why there has always been a place for this form of self-awareness of artistic creativity in the products of such creativity - the works of artists (writers, composers, etc.) of all eras. And although the specific impulse that led the artist to such a reflection was, of course, individual and unique in each case,

secondly, the social need for the constant emergence of such phenomena was to some extent the source that fed them, stimulating their success both among the audience and among the creators of art.

Consequently, the ideological basis and initial conceptual position of the study was a new understanding of the role of culture in the modern city and overcoming institutional barriers in the minds of cultural subjects and urban society, government bodies and business in realizing the creative potential of the city dweller and achieving a compromise between cultural demands different groups population and general goals of socio-economic development of the city. The difficulty of finding such a compromise increases with the growth in the number and diversity of social and national subcultures in the city.

Artistic culture of the 20th century. -a concept that conventionally denotes the entire set of arts and artistic and near-and post-artistic 356 activities of the 20th century. The specificity of the artistic culture of the 20th century, in contrast to the artistic culture of previous periods of history, lies in its fundamental transitional nature, expressing the essence of the global transition process in the culture of the 20th century. in general, one of the main parts of which is artistic culture.

The process of global modernization of culture began several centuries ago, but in the 20th century. acquired an avalanche-like, rapidly progressing character. The main point it lies in the universal affirmation (“triumph”) of material

scientific-scientist-technological worldview and, accordingly, a fundamentally new type of consciousness, mentality, thinking. The most noticeable characteristics of the artistic culture of the twentieth century. are multiplicity, chaoticity and rhizomality, which allows researchers to draw a conclusion about its transitional, unstable state.

E. B. Vitel interpreted the crisis of artistic culture of the twentieth century. as a systemic pattern. From the perspective of synergetics, which studies systems precisely in a state of instability, nonequilibrium and chaos (the subject area of synergetics is issues of self-organization of unstable dynamic systems, theory of catastrophes and chaos), the transition period is a necessary state of the system associated with a change in the vector of its development. Transition means a disordered temporary state, when the old parameters of the organization are rejected as irrelevant, and new ones have not yet taken shape. In the artistic culture of the twentieth century. These signs of transition are evident: the denial of artistic tradition, on the one hand, and the absence of anything established and understandable new, on the other. The unbalanced state of the system is necessarily accompanied by chaos. However, it is precisely this unstable period that is characterized by increased creativity, which explains the interest in predicting the future development of artistic culture.

The reason for the transition of the system to the formation of a new order is the exhaustion of the meaning (as the purpose of its existence and the formation of a certain order) of the previous artistic

nal system and what its order is expressed in. In order for chaos to arise, that is, the system has passed into its unstable state, it is necessary that rejection is expressed not just in the rejection of the old idea, but also in the impossibility of its implementation, open protest (theoretical and practical nature) and special destructive activity. One of the aspects of the process of system chaotization is the removal of binary oppositions.

In the system of artistic culture, binaries perform a constructive and semantic function. The fact that they exist in different artistic eras, gives them the character of constant supra-epochal properties and proves the existence of a metasystem of a level higher than those in which they are directly manifested. With the help of an extensive network of binaries, one or another artistic system took on a certain structured form. The system’s achievement of a state of becoming (the peak culminating period), or “hard ontology” (V.G. Budanov), was the basis not only for its detailed description, but also for comparison with another system in its becoming, that is, established and peak, form.

By the beginning of the twentieth century. binary oppositions represented a developed subsystem of artistic culture, a kind of network of blood vessels of anthropocentrism. Therefore, it was the destruction of this system by modernism that was marked as an explosion, a leap, the dying of art, etc. In the language of synergetics, the effect of a leap is associated with the restructuring of the system, with a change in the direction of its development and the natural transition of the system from the old order to

new. The process of changing operating modes is connected by a period of the system entering a state of chaos, the duration of which is determined by the duration of the previous period. This gives grounds to consider the artistic culture of the 20th and 21st centuries. as a single ongoing period of chaos.

So, the transition of an artistic system from a state of peace and order to a nonequilibrium, unstable and chaotic state, in which the artistic culture of the twentieth century resides, is a process of elimination (self-liquidation) of meaning old culture, fixed in binary oppositions.

Thus, today artistic culture is a complex systemic formation, the existence of which can be divided into two important aspects:

1. One side is connected with the organizational side of the functioning of artistic culture. In any, perhaps, historical type of culture, there are special social institutions that are responsible for ensuring the conditions for the functioning of artistic culture, for the creation, dissemination and perception of aesthetic values: a system of educational institutions, training in which allows you to join artistic traditions, which ensures a certain continuity in relation to To aesthetic values; publishing institutions, organizations carrying out concert and exhibition activities, etc.; research organizations of a wide range of profiles, from art historical groups to sociological laboratories, co-

who study the patterns of functioning of artistic culture, features of artistic perception, the audience, mass media, which in our contemporary cultural situation acquire special meaning in the dissemination and broadcast of artistic values.

2. The second side is associated with creative activity in the field of art and the results of this activity. These are, first of all, the works of art themselves with their special language inherent in each type of art separately, the creative process of their creation, the special relationship between the author and the work of art created by him, the relationship between the author, the work and the recipient (the one who perceives the work of art) . It is thanks to art that it is possible to perceive the world in its integrity, in the inextricable unity of personal experience, the existence of culture and the experience of all humanity.

So, having considered different views about culture as a system, we will build our research on the basis of classical and newest works leading domestic and foreign scientists, namely, on research in the field of multifactorial predictive models of culture: A. Migalantiev, V. Lapin, A. Akhiezer, L. Kogan, N. Yanitsky, etc.; research aimed at studying the phenomenology of culture: K. Lynch, L. Kogan, N. Grigoriev, A. Ikonnikov, K. Isupov, O. Trushchenko, V. Glazychev and others; on research in the field of the theory of cultural and social systems

stem, as well as on the concepts of sociodynamics of culture: P. Henri, T. Van Dyck, T. Parsons, M. Pesce, P. Serio, M. Foucault, Y. Habermas, A. Pelipenko, I. Yakovenko, G. Shchedrovitsky, V. Levada, E. Yudin and others.

Consideration of issues of structural construction, statics and dynamics of indicators of processes occurring both “outside” and “inside” cultural transformations in modern stage urban “drifts”, as well as determining the vectors of development trends in prognostic approaches - all this can become one of the possible solutions to the identified contradiction and problem of socio-cultural life of modern society.

LIST OF SOURCES AND REFERENCES

1. Orlova E. A. Cultural (social) anthropology. - M., 2004.

2. Gaides M. A. General theory of systems (systems and system analysis) [Electronic resource]. - Access mode: http://health.polbu.ru/gaides_systems/ch07_vii. html

3. Parsons T. System of modern societies. - M.: Aspect-Press, 1997.

4. Glotov M. B. Artistic culture as a system of social institutions: Author's abstract. diss. ...cand. Philosopher Sci. - L., 1974.

5. Vitel E. B. Interpretation of the crisis of artistic culture of the twentieth century. as a systemic pattern // Culturology. -2008.

6. Akhiezer A. S. Sociocultural problems of development of Russia. - M., 1998. - 310 p.

7. Ikonnikov A. Visual arts in the urban landscape. - M.: Avanta+,

Artistic culture is one of the components in the system of functioning of the “second nature” of man. This is one of the most stable humanitarian components of culture, in which the ideas of each specific type of culture about the spiritual values of a given cultural era are expressed in a special symbolic form.

Artistic culture is one of the most important components of spiritual culture. Together with cognitive, religious, moral, and political culture, it is designed to shape the inner world of a person and contribute to the development of a person as a creator of cultural values. The core of artistic culture is art as a form of artistic and figurative interpretation of the real and the imaginary. Types of art - literature, theater, painting, sculpture, architecture, music, through the use of various means of expression, master reality in the form of a unique and individual artistic image. These forms can be different - from metaphorical to realistic, and they always reflect the fate of people and nations, ideas and problems of their time.

In the everyday, widespread idea of what culture is, the prevailing idea is that culture is what is associated with aesthetic activity in general and with art in particular. It is in the sphere of artistic culture that a holistic vision of all the features, complexities and patterns of cultural existence is created, expressed in the special form of languages of specific types of arts. In archaic cultures, this feature of the functioning of artistic culture found its expression in syncretism, i.e. integrity, multifunctionality primitive art(art is included as a component element in various types of activities and performs several functions that are most important for archaic cultures - this is also an element magical rituals, and aesthetic activity itself, and a special kind of knowledge of reality).

Artistic culture masters the sphere of artistic values, which are directly related to the aesthetic values represented in culture. The concept of aesthetic is more broad concept than the artistic, since the aesthetic, being included in the system of cultural values, does not necessarily have a man-made nature. So, for example, we can talk about in various ways aestheticization of nature (i.e. its inclusion in human value relations) in various types of cultures (nature in Eastern cultures - and the idea of \u200b\u200bthe aesthetic in nature in the Western European tradition).

The basis of aesthetic activity is the idea of beauty as a central universal aesthetic category. In addition, it presents the sublime, comic, tragic and other aesthetic categories. Aesthetic activity is implemented in unusually diverse areas of human activity:

1) Practical activities(landscape architecture, design)
2) artistic and practical activities (carnivals, holidays, rituals, ceremonies)
3) creating works of art - creative activity
4) perception of works of art, evaluation, artistic taste, aesthetic ideals, etc.

Artistic culture is a complex systemic formation, in the existence of which two important aspects can be distinguished:

Firstly, this is something that is connected with the organizational side of the functioning of artistic culture. In any historical type of culture, there are special social institutions that are responsible for ensuring the conditions for the functioning of artistic culture, for the creation, dissemination and perception of aesthetic values. This is, first of all, a system of educational institutions, training in which allows you to join artistic traditions, which ensures a certain continuity in relation to aesthetic values; publishing institutions, organizations carrying out concert and exhibition activities, etc. These are research organizations of the widest profile - from art history groups to sociological laboratories that study the patterns of functioning of artistic culture, features of artistic perception, and the audience. In the modern cultural situation, mass media are acquiring particular importance in the dissemination and broadcast of artistic values.

Most early form mass communication was printing, the significance of which as a means mass distribution artistic culture manifested itself only in late XIX century after the expansion of educational institutions in Europe. In addition, the invention of cinema, radio, television, and later the Internet system made it possible to talk about truly mass communication. It was thanks to these inventions that an almost unlimited opportunity arose to demand any cultural information and become familiar with the artistic values and achievements of human culture. For example, this is the possibility of forming humanistic ideas through treatment popular culture to universal human values, and, as a consequence, the possibility of intracultural and intercultural dialogue.

An important role is played by the educational potential of mass culture, when one or another innovative idea in the field of artistic creativity becomes accessible to the mass audience, thanks to which the constantly existing contradiction in perception between traditional, established, familiar artistic forms and innovative ideas related to the sphere of form creation, the search for new means of expression. This often leads to simplification, primitivization of the true meanings of artistic culture, but allows the perceiving subject to master the world in new artistic images, and, therefore, adapt an initially alien point of view, to become a “cultural polyglot.”

Secondly, this is that part of artistic culture that is directly related to creative activity in the field of art and the results of this activity. These are, first of all, the works of art themselves with their special language inherent in each type of art separately, the creative process of their creation, special treatment between the author and the work of art he created, the relationship between the author - the work - and the recipient (the one who perceives the work of art).

It is thanks to art that it is possible to perceive the world in its integrity, in the inextricable unity of personal experience, the existence of culture and the experience of all humanity.

Art is a complex functioning system, the logic of its development cannot be reduced to certain schemes. It can only be studied as complete system, in which you can find several options for the interaction of art with other spheres human existence. culture choreographic artistic dance

We can talk about a certain dependence of the development of art on the state of society and its main institutions (for example, in Soviet culture the most powerful instrument of regulation artistic processes, the logic of the relationship between form and content in a work of art - at least at the level of officially approved art - was ideology).

The logic of the development of art cannot be reduced to the idea of the strict dependence of art on the method of social production, on the spiritual values dominant in a given culture. Those. this is a certain independence in the development of art, the possibility of its breakthrough into the sphere of the new, unknown in its desire to expand the creative capabilities of man, which ultimately leads to the expanded reproduction of the entire culture.

In addition, types of art very often develop unevenly: for a particular cultural era, a situation is possible when some types of art develop absolutely fully and dynamically, while others fade into the shadows. Moreover, some works of art can have a radical impact on the spiritual life of society. The range of this influence is unusually wide - starting from the influence on a fashionable suit and type social behavior and ending with the influence on political attitudes.

Art is a special kind of creative activity and the results of this activity to transform the world according to the laws of beauty, the result of which is the creation of an artistic and figurative system. This is, first of all, creativity, i.e. innovative activity, the search for new artistic form. Hence - one of the most acute problems of the existence of art - the feeling of exhaustion of form, the fear of epigonism, repetition in the sense of simply doubling what has already been done in art. The existence of art is both a process and a result of the creative exploration of the world. The most important concept in art is the category of “beautiful”, which sets a coordinate system in relation to which other aesthetic categories are built; they are subordinated and coordinated in relation to the beautiful. Each cultural era forms its own ideal of “beautiful”. The most important factors that, as a rule, influence the formation of the ideal of beauty are:

1) natural conditions, characteristic of this particular culture;
2) some initial idea of biological expediency, of natural harmony;
3) artistic traditions of a given historical type of culture;
4) national idea of the ideal of “beautiful”;
5) social-class concept of “beautiful”.

Art is one of the main components artistic culture. Accordingly, culture and art (as its subsystem) perform the same functions:

1) socially transformative;
2) cognitive-heuristic;
3) artistic and conceptual;
4) foresight;
5) information and communication;
6) educational;
7) suggestions;
8) aesthetic;
9) hedonistic.
1. Socially transformative function (art as an activity). It manifests itself in the fact that a work of art realizes ideologically - aesthetic impact on people, includes them in holistically directed activities and thereby participates in the transformation of society. In addition, the process of creativity itself is the transformation, with the help of imagination, of impressions, facts from real life. Any material with which the artist works is subject to processing, as a result of which a new quality appears. Some scientific schools deny or belittle the possibility of art participating in the transformation of the existing world. They reduce the significance of art to performing a compensatory function - art in the sphere of the Spirit helps restore lost harmony. This action is inherent in art, but ideas talented artist sooner or later they “awaken” the consciousness of the audience, forcing them to perceive a familiar phenomenon in a new way.
2. Cognitive-heuristic (art as knowledge and enlightenment). Despite the fact that the world's greatest philosophers Plato and Regel considered art to be the lower form of knowledge of truth, which cannot compete with either philosophy or religion, the cognitive capabilities of art are still enormous. Art can explore those aspects of life that are inaccessible to science. Art masters the richness of the objective-sensory world, discovers new things in already known things, and the unusual in the ordinary.
3. Artistic-conceptual (art as an analysis of the state of the world). Art strives for global thinking, solving global problems, and understanding the state of the world. The artist is interested in the fate of his heroes and humanity as a whole; he thinks on the scale of the Universe and history, and coordinates his work with them. IN modern science a strong and anti-intellectual current that comes from the intuitionism of Henri Bergson, in psychology - from Sigmund Freud, in art - this is the current surrealism, which recognizes “automatic writing”, “sleep epidemic”, “switching off the mind”.
4. Forecasting function. In this case we are talking about using intuition. If a scientist draws a conclusion inductively, then an artist is able to imagine the future figuratively. An artist, relying on intuition, can reliably predict the future through extrapolation - the likely continuation of the development line of an already existing
5. Information and communication (art as message and communication). The analysis of precisely this function of art underlies modern aesthetic theories, which are developed by semiotics, etc. Art is considered as a kind of communication channel, as a sign system that carries information. At the same time, the informational capabilities of artistic language turn out to be much wider and emotionally stronger than colloquial speech.
6. Educational (formation of a holistic personality). Educational value philosophy is to influence the formation of a worldview, politics - on political views, but art has a comprehensive influence on both the mind and soul of a person, and forms an integral personality. Art influences a person through an aesthetic ideal, which manifests itself in both positive and negative images.
7. Function of suggestion. Art has the ability to instill a way of thinking, feeling, an almost hypnotic effect on the human psyche. This ability is especially evident during difficult periods of history.
8. Aesthetic (formation of value orientations). Under the influence of art, aesthetic tastes are formed, the creative principle of the individual awakens, his desire to create according to the laws of beauty.
9. Hedonic (function of pleasure). This function is due to the fact that there is a playful aspect of artistic activity. Play as a manifestation of freedom brings aesthetic enjoyment, joy, spiritual inspiration.

These are the most important functions of art, although their list is not limited to those mentioned. Despite the lack of direct pragmatic expediency, the existence of people without art is impossible. Art shapes personality comprehensively, shapes moral principles, aesthetic tastes, expands horizons, knowledge, imagination, and fantasy. The universal need for art follows, according to the German philosopher G. Hegel, from man’s reasonable desire to spiritually master the inner and outer worlds, presenting them as an object in which he recognizes his own “I”.

To summarize, we can conclude that artistic culture is a multifaceted process and the result of an aesthetic transformation of the sphere human life, “objectification” and “deobjectification” of aesthetic information. Artistic culture is the creation, dissemination (with the help of channels and mass media), collective and individual perception, spiritual and material development of aesthetic and artistic values. All links and components of the dynamics of artistic culture mutually presuppose and mediate each other, forming a complex structured system.